white milano aw25 | a gateway to global fashion

Paris Fashion Week is never short on drama, but this season felt particularly charged. With Haider Ackermann’s much-anticipated debut at Tom Ford, Coperni transforming the runway into a digital playground, and Sarah Burton making her first move at Givenchy, there was plenty to talk about. Add to that Marine Serre’s commitment to sustainability, Rokh’s sharp deconstruction, and Miu Miu’s playful layering, and you’ve got a week that delivered on spectacle and substance. YSL leaned into power dressing with a sharp, masculine edge, while Kenzo made its first return to Paris womenswear in nearly a decade.

Schön! was there to witness it all. Below, a closer look at the standout shows that defined Paris Fashion Week.

Saint Laurent

Anthony Vaccarello dialled up the tension this season, stripping Saint Laurent down to its sharpest essence, but also departing from the brand’s iconic use of black. Instead, the runway was filled with a vibrant array of colours, including fuchsia, green, muted oranges, and yellows, alongside floral and cheetah patterns. The show opened with razor-sharp tailoring — powerful shoulders, cinched waists, and floor-grazing coats that exuded quiet dominance. Leather trench coats, sheer blouses, and the kind of structured outerwear that demands attention set the tone. But it wasn’t all rigidity — soft jersey draping and delicate pleats added just enough fluidity.

Givenchy

Sarah Burton’s first collection at Givenchy was a standout this season. Burton drew inspiration from Hubert de Givenchy’s 1952 debut collection, incorporating hourglass waists and exaggerated shoulders into her designs. The powder compact dress, a flesh-toned mini bustier covered in antique powder compacts, was a standout, evoking the idea of a model “spilling the treasures of her handbag.” The collection also featured closely-cut blazers, longer-length jackets with nipped-in waists, and flirty dresses in ivory and black with swinging trains. Additionally, severe leather pieces, such as a part-puffer-part-pencil-skirt dress and a biker mini, added a modern edge. Burton’s collection aimed to capture the essence of modern women. It felt like the first chapter in a longer story — one that hints at quiet transformation rather than immediate reinvention.

Miu Miu | Femininities

Miuccia Prada has a knack for redefining femininity, and this season at Miu Miu, she did it with a playful yet considered hand. Lingerie elements peeked through — cone bras subtly visible under chunky knits, sheer slips layered under structured coats — balancing sensuality with everyday wear. The silhouettes struck a perfect contrast: sculpted yet effortless, cinched but never rigid. Colours ranged from muted mustard and dark olive to seafoam green and electric purple, with flashes of fiery red and orange. Accessories leaned into vintage glamour, with oversized gold brooches, layered bracelets, and twinkling tennis necklaces paired with plush fur shrugs. It was femininity with a knowing wink — elegant, expressive, and a little undone, exactly as Miu Miu does best.

Marine Serre | Heads or Tails

Marine Serre’s collection at La Monnaie de Paris initiated a powerful dialogue between illusion, symbolism, and transmission. Guests received coins stamped with the moon and Serre’s profile, serving as talismans rather than currency. At 30, and after seven years building her fashion house, Serre presented 47 looks blending sensuality and strength. Silhouettes evolved to be graceful and structured, referencing 1950s and 1980s femme fatales. The iconic catsuit opened the show, with moon-tattooed leather as a second skin. Upcycled materials like biker pants transformed into couture dresses, embodying eco-futurism. The collection transitioned from white to black, with deep reds pulsating energy, inspired by David Lynch’s universe. Trompe-l’œil became a language, blurring appearance and reality, revealing mature radicalness, structure, and grace.

Coperni

Leave it to Coperni to turn a runway show into a cultural moment. This season, they transformed the catwalk into a full-blown LAN party, complete with 200 gamers locked into screens as models wove through the space. The collection felt equally plugged-in, with sleek, cyber-inspired tailoring, metallic textures, and a standout accessory: the Tamagotchi bag, a nostalgia-laced reworking of the brand’s signature Swipe silhouette. It was a clever blend of past and future, proving that Coperni knows exactly how to tap into the cultural zeitgeist.

Rokh | Fractured Motion

Rok Hwang has long mastered deconstruction, but this season, he sharpened the concept with even more precision. AW25 was an exercise in contrasts — rigid yet fluid, structured but undone. Oversized trenches were sliced at unexpected angles, pleated skirts hung partially unfastened, and tailored coats were shrugged on with just the right amount of off-kilter ease. A muted palette of greys, deep blues, and neutrals kept things grounded, allowing the intricate constructions to remain effortlessly wearable. Set in a deconstructed old French maison, the runway echoed the collection’s themes, where sculptural body pieces clung to models like modern armour, balancing restraint and release. Fabric was twisted, moulded into floral sculptures, and draped with architectural precision. This was Rokh at its best — proving that even the most experimental silhouettes can feel instinctive.

Tom Ford

Haider Ackermann’s debut for Tom Ford was a study in control — every cut, every hue, every shimmer placed with intention. The show, set against fogged glass panels, leaned into quiet seduction, swapping Ford’s usual overt sensuality for something more precise. Sharp leather moto jackets and slinky, low-slung trousers set the tone, while evening wear delivered measured opulence. A butter-yellow gown clung to the body before breaking into a dramatic slit, a pool-blue number draped with liquid ease, and a lavender dress fringed in shimmering strands nodded to ’70s disco without feeling too cliché. Metallic tailoring added edge, while velvet suiting in deep jewel tones reinforced Ackermann’s talent for sculpting fabric around the body. Ackermann filtered Ford’s legacy through his own lens, trading excess for tension. The collection’s crisp lines and calculated glamour even earned a standing ovation from Ford himself — a sign the house is in steady hands.

Kenzo | Lucky Me? Lucky You

Kenzo’s Autumn/Winter 2025 womenswear show, Lucky Me? Lucky You, marked the brand’s bold return to the Paris runway after eight years. Under Nigo’s direction, the collection played with contrasts — Savile Row-inspired tailoring met ‘80s volume, while sheer harem pants and crystal pavé belts added a playful edge. Bunny motifs, lifted from a 1979 Kenzo Takada sketch, appeared across knitwear and outerwear, with “Lucky Me” in pink and “Lucky You” in pastel blue. Lingerie-inspired elements, such as peekaboo silk satin camisole slips, added a soft, sensual touch, while accessories like bags with shirred handles and ribbon bow details enhanced the collection’s charm. 

photography. Giovanni Giannoni, Kenzo, Tom Ford, Rokh, Coperni, Marine Serre, Miu Miu, Givenchy
words. Gennaro Costanzo

OMEGA’s Seamaster Planet Ocean Worldtimer is back — this time in bold ceramic. Originally part of the Aqua Terra range, the Worldtimer now joins the Planet Ocean collection, combining technical precision with a sleek, modern design.

OMEGA has been at the forefront of Swiss watchmaking since 1848, known for its precision, innovation, and deep ties to space exploration, Olympic timekeeping, and diving. The brand’s legacy includes the first watch worn on the moon and timepieces designed for extreme underwater depths.

The 45.5mm case is made from black ceramic, following the look of the Planet Ocean Deep Black models. Its bezel, also ceramic, features a laser-ablated diving scale polished in positive relief. But the real standout is the dial’s centre: a topographic map of the continents, laser-ablated onto grade 5 titanium, showing a view of the North Pole. Around it, a 24-hour display separates night from day, framed by a polished honeycomb pattern on a DLC black outer ring.

There are two versions. One comes with turquoise varnish and Super-LumiNova-filled hands and indexes, paired with a black rubber strap with turquoise stitching. The other takes a more understated approach, with grey varnish details and OMEGA’s new grey Super-LumiNova, plus a matching grey underside on the strap.

Inside, the automatic Co-Axial Master Chronometer Calibre 8938 keeps everything running, visible through the sapphire crystal caseback. And with a water resistance of 600m, this Worldtimer is ready for both deep dives and international travels.

Find out more here.

photography. OMEGA
words. Gennaro Costanzo

Julian Klausner’s debut collection for Dries Van Noten was never going to be a quiet affair. Staged at the Palais Garnier, the collection played with that idea of transformation, like a performer grabbing whatever’s at hand — shoelaces, velvet scraps, a perfectly rumpled scarf — and turning it into something grand. Klausner drew from his earliest memories of fashion, rummaging through his family’s costume box.

Tailoring had a dramatic flair, with oversized collars, sweeping cuffs, and linings that stepped out from the shadows to become garments of their own. Corset belts cinched voluminous skirts, while puffed sleeves and sculpted silhouettes gave a touch of old-school glamour — but with an offbeat twist. There was something of a dancer’s poise in the stirrup pants and knit ensembles, but also a rebellious streak in the way layers clashed and collided.

Beaded mesh shimmered like stage lights, polka dots scattered playfully across silk, and lush opera-house fabrics — velvet, jacquards, curtain tassels — were thrown into the mix. The exquisite colour palette balanced deep bottle greens and violets with the soft romance of ballet blush. Accessories ran with the theatrical spirit: shoelaces became earrings, heels came chunky and sculptural, and everything felt like it had been tied, draped, or fastened in the moment, just before stepping into the spotlight.

Klausner’s debut felt like stepping backstage at the Palais Garnier: there was history, drama, and personal expression in particular, which elevated the collection to a whole new level.

Discover the collection here.

photography. Dries Van Noten 
words. Gennaro Costanzo